Songs with Earlier Histories Than the Hit Version

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Category: 1970s

Count on Me

Written and first recorded by Jesse Barish (1978).
Hit version by Jefferson Starship (US #8/MOR #15/CAN #9/NZ #24 1978).
Re-recorded by Marty Balin (1999).

From the wiki: “‘Count On Me’ was a 1978 song and single by Jefferson Starship for the album Earth, written and first recorded by songwriter Jesse Barish. The Jefferson Starship single gave Starship their second US Top-10 hit of the ‘Seventies, after their 1975 hit ‘Miracles’.

“Barish played flute with the seminal experimental band The Orkustra in San Francisco in the mid 60’s and also played flute with ‘Papa’ John Phillips on Phillip’s Wolf King of L.A. tour. In 1971 Jesse was signed to Shelter Records by Denny Cordell and released the album Jesse, Wolff and Whings with guitarist Billy Wolff and drummer Kevin Kelly. Landing in Marin County in the early ’70s, Jesse became friends with Marty Balin who would go on to record ‘Count On Me’ later in 1978 with Jefferson Starship (among other songs) and, in 1980, wrote ‘Hearts’ for Balin’s first solo album for EMI Records.

Moody Blue

Written and first recorded by Mark James (1975).
Hit version by Elvis Presley (US #32/C&W #1 1976).

From the wiki: “‘Moody Blue’, made famous by Elvis Presley, was written and first recorded by Mark James who also penned Elvis’ ‘Suspicious Minds‘. ‘Moody Blue’ was Presley’s last #1 hit in his lifetime, topping the Billboard magazine Hot Country Singles chart in February 1977.

“Presley recorded his version in February 1976, in the Jungle Room of his Graceland home. The only time Elvis performed the song in its entirety was on February 21, 1977 at a concert in Charlotte, North Carolina. He had attempted to perform the song February 20 at the same venue but revealed to the crowd that he had completely forgotten the lyrics; he returned on February 21, lead sheet in hand, and performed the song with his eyes glued to the lyrics.”

No More Drama (ref. “Nadia’s Theme”)

First recorded as “Cotton’s Theme” by Barry De Vorzon and Perry Botkin, Jr. (1971).
Also recorded (as “Cotton’s Theme”) by Sounds of Sunshine (1973). Rereleased as “Nadia’s Theme” by Sounds of Sunshine (1976).
Hit version (as “Nadia’s Theme”) by Barry De Vorzon (US #8/MOR #8/CAN #6 1976).
Hit version (sampled in “No More Drama”) by Mary J. Blige (US #15/R&B #16/UK #9 2001).

From the wiki: “Barry De Vorzon and Perry Botkin Jr. composed this piece of music, originally titled ‘Cotton’s Dream’, as incidental music for the 1971 theatrical film Bless the Beasts and Children. Botkin Jr. later composed a rearranged version of the instrumental theme for the U.S. TV soap opera The Young and the Restless, which debuted on March 26, 1973, on the CBS television network. Although a soundtrack album for the TV series was released by P.I.P. Records in 1974, the LP only contained a vocal cover version recorded by easy-listening group Sounds of Sunshine, rather than the original instrumental recording by De Vorzon and Botkin.

A Little Bit More

Written and first recorded by Bobby Gosh (1973).
Hit version by Dr. Hook (US #11/UK #2 1976), 911 (UK #1/IRE #7/NZ #46 1999).
Also recorded by Bill Brantley (1977).

From the wiki: “‘A Little Bit More’ was written and first recorded by Bobby Gosh, released on his 1973 album Sitting in the Quiet. The first hit version was recorded by the band Dr. Hook. Released in 1976, it charted at #11 on the US Billboard Hot 100, and #2 on the UK Singles chart.

“Soul singer Bill Brantley (the ‘Titus’ half of the duo ‘Van & Titus’) recorded a critically well-received cover of ‘A Little Bit More’, releasing it as the A-side of his second solo single in 1976 but with no apparent chart impact.

“In 1998, English boy band 911 recorded a cover of ‘A Little Bit More’ for their third studio album, There It Is (1999). It went on to become one of their most successful singles, debuting at #1 on the UK Singles Chart in January 1999, becoming their only #1 single.”

Wishing on a Star

First recorded by Rose Royce (R&B #52/UK #3 1978).
Other hit versions by Fresh 4 (UK #10 1989), The Cover Girls (US #9/UK #38 1992), Jay Z (UK #13 1998).

From the wiki: “‘Wishing on a Star’ was written by Billie Rae Calvin and produced by famed former-Motown ‘psychedelic shaman’ Norman Whitfield (‘I Heard It Through the Grapevine‘,’War‘,’Smiling Faces Sometimes‘), and was included on Rose Royce’s second album, Rose Royce II: In Full Bloom. The original recording of ‘Wishing on a Star’ was not a big hit in the US, peaking at #52 on the Hot R&B/Hip-Hop Songs, but was a big chart hit in the United Kingdom, reaching #3 in March 1978. A cover by Fresh 4, in 1989, also peaked in the UK Top 10. The Cover Girls released a version in 1992 that peaked in the US Top 10.

May You Never

Written and first recorded by John Martyn (1971).
Re-recorded by John Martyn (1973).
Hit album version by Eric Clapton (1977).

From the wiki: “‘May You Never’ became something of a signature song for its writer, John Martyn, becoming a staple of his live performances. Released in November 1971 as a single, in an early form with a full band, the first release of ‘May You Never’ had slightly different lyrics than appeared in subsequent recordings. ‘May You Never’ was re-recorded with a more sparse arrangement for the Solid Air album sessions in 1973. According to Songfacts.com, the night before producer John Wood was due to fly to New York to master the album, he was still waiting for the tape containing this tune. ‘It was by then nearly midnight,’ he recalled to Mojo magazine April 2013, ‘so I said to him, For Christ’s sake, John, just go back down into the studio and play it again, and we’ll record it. And he did, and it’s great.’

“Eric Clapton covered ‘May You Never’ on his 1977 album Slowhand. When Martyn was presented with a lifetime achievement award at the 2008 BBC Folk Awards, Clapton sent a message saying that [Martyn] was ‘so far ahead of everything else it was inconceivable’ and acknowledged the extent of his influence on ‘everyone who ever heard him.'”

Da Ya Think I’m Sexy?

Influenced by “Taj Mahal” by Jorge Ben Jor (1972).
Hit version by Rod Stewart (US #1/R&B #5/UK #1 1978).

From the wiki: “‘Da Ya Think I’m Sexy?’ was recorded by the British singer Rod Stewart for his 1978 album Blondes Have More Fun. It was written by Stewart, Carmine Appice and Duane Hitchings.

“It was alleged that Stewart created the song through partial musical plagiarism. A copyright infringement lawsuit was file by Jorge Ben Jor claiming ‘Do Ya Think I’m Sexy’ was derived from ‘Taj Mahal’, incorporating certain elements of the melody first written and recorded by Ben Jor in 1972. The case was ‘settled amicably’ according to Ben Jor. Stewart admitted to ‘unconscious plagiarism’ of the Ben Jor song in his 2012 autobiography Rod: The Autobiography.”

Love Has No Pride

First recorded by Bonnie Raitt (1972).
Hit versions by Linda Ronstadt (US #51/MOR #23 1973), Daryl Braithwaite (AUS #5 1977).
Also recorded by Libby Titus, co-writer (1977).

From the wiki: “‘Love Has No Pride’ was written by Eric Kaz and Libby Titus, and was first recorded in 1972 by Bonnie Raitt for her album Give It Up of which critic Dave Marsh wrote ‘[it comes] closest to perfecting her approach. She [mingles] her blues resources with a variety of contemporary and folk-oriented songs, coming up with classics in ‘Been Too Long at the Fair’ and Eric Kaz’s ‘Love Has No Pride.’ Her version of the latter remains definitive …’

“Linda Ronstadt covered ‘Love Has No Pride’ for her 1973 album Don’t Cry Now. Her recording was released as the album’s first single. It peaked at #51 on the Billboard Hot 100, but has song has endured over the years to be remembered as one of Ronstadt’s signature songs.

“Australian singer Daryl Braithwaite covered ‘Love Has No Pride’ in 1977, scoring a Top 5 hit on the Australian Singles chart. The song’s co-writer, Libby Titus, covered her own song in 1977 for her self-titled album Libby Titus. Titus would go on to musically collaborate with the likes of Burt Bacharach, Dr. John, and Donald Fagen, and perform bit parts in the motion pictures Heartburn and Awakenings.”

Motorhead

First recorded by Hawkwind (1975).
Also recorded by by Motörhead (1977).
Hit version by Motörhead (UK #6 1981).

From the wiki: “‘Motorhead’ was written by Lemmy, later of the group Motörhead, while he was a band member in Hawkwind; it was his last before leaving the band. The song first appeared on the B-side of Hawkwind’s 1975 single ‘Kings of Speed’. The title of the song is American slang for a ‘speed’ (amphetamine) freak. The song was written in the Hyatt Hotel (a.k.a. ‘Riot House’) in West Hollywood, California. Lemmy explains:

‘I was on tour with Hawkwind in 1974, we were staying at the Riot House and Roy Wood and Wizzard were also in town. I got this urge to write a song in the middle of the night. I ran downstairs to the Wizzard room, got Roy’s Ovation acoustic guitar, then hurried back to mine. I went on to the balcony and howled away for four hours. Cars were stopping and the drivers were listening then driving off, and there I was yelling away at the top of my voice.

‘The six thousand miles was a reference to Los Angeles, and the rest is self-explanatory. And yes, I am the only person to fit the word ‘parallelogram’ into a Rock’n’roll number! I’m very proud of that.’

Tangled Up in Blue

First recorded by Bob Dylan (1974, released 1991).
Hit version by Bob Dylan (US #31 1975).
Also recorded by Bob Dylan (1984).

From the wiki: “‘Tangled Up in Blue’ was written by Bob Dylan, and first appeared on the album Blood on the Tracks in 1975. Released as a single, ‘Tangled Up in Blue’ reached #31 on the Billboard Hot 100. Rolling Stone ranks it #68 on their list of the 500 Greatest Songs of All Time. According to The Telegraph, Dylan said ‘I wanted to defy time … When you look at a painting, you can see any part of it altogether. I wanted that song to be like a painting.’ Dylan had been influenced by his then-recent study of painting and the Cubist school of artists, who had sought to incorporate multiple perspectives within a single plane of view. Dylan has often stated that the song took ‘ten years to live and two years to write.’

“‘Tangled Up in Blue’ was one of five songs on Blood on the Tracks that Dylan initially recorded in New York City in September 1974 and which was then re-recorded in Minneapolis in December that year; the later recording became the album track and single. One of the September 1974 outtakes was released in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.

Givin’ It Up For Your Love

Written and first recorded by Jerry Williams (1979).
Hit version by Delbert McClinton (US #8/MOR #35/CAN #10 1981).

From the wiki: “Jerry Lynn Williams’ big break as a songwriter came when Delbert McClinton recorded a cover of ‘Givin’ It Up For Your Love’, first recorded by Williams in 1979 for his album Gone. Williams would go on to write for Eric Clapton, B.B. King and Clint Black, and contributed two songs, ‘Real Man’ and ‘I Will Not Be Denied’, to Bonnie Raitt’s 1989 Grammy Award-winning album Nick of Time. Williams also helped Stevie Ray and Jimmie Vaughan write the song ‘Tick Tock’.

“Born in 1948, Williams had dropped out of school at age 14, working Texas roadhouses with his own band, The Epics. He later toured with Little Richard’s band until authorities discovered Williams’ age and sent him home. Williams says he learned to play lead guitar from a fellow band member, Jimmy James – better known as Jimi Hendrix.

The Revolution Will Not Be Televised

Written and first recorded by Gil Scott-Heron (1970).
Popular version by Gil Scott-Heron (1971).
See also: “The Lawrence Welk-Hee Haw Counter-Revolution Polka” by Roy Clark (1972)

From the wiki: “‘The Revolution Will Not Be Televised’ is a song-poem written by Gil Scott-Heron. Scott-Heron first recorded it as a live performance for his 1970 album Small Talk at 125th and Lenox, on which he recited the lyrics, accompanied by congas and bongo drums. A re-recorded version, with a full band, was the B-side to Scott-Heron’s first single, ‘Home Is Where the Hatred Is’, in 1971 from his album Pieces of a Man. This version of ‘The Revolution Will Not Be Televised’ was also included on Scott-Heron’s compilation album, The Revolution Will Not Be Televised (1974).

“The song’s title was originally a popular slogan among the 1960s Black Power movements in the United States. Its lyrics either mention or allude to several television series, advertising slogans and celebrity icons of entertainment and news coverage that serve as examples of what ‘the revolution will not’ be or do.

Put Your Hand in the Hand

First recorded by Anne Murray (1970).
Hit version by Ocean (US #2/MOR #4/CAN #10 1971).

From the wiki: “‘Put Your Hand in the Hand’ is a gospel-Pop song composed by Gene MacLellan (‘Snowbird’) and first recorded by Anne Murray for her third studio album, Honey, Wheat and Laughter. It was later covered by Canadian band Ocean and released as the title track to their debut album. Their version is arguably the most popular one of the song, peaking at #2 in 1971 on the US Billboard Hot 100 and kept from #1 by ‘Joy to the World‘ by Three Dog Night.”

Rock and Roll Love Letter

Written and first recorded by Tim Moore (1975).
Hit version by Bay City Rollers (US #28/CAN #6/AUS #9/GER #13 1976).

From the wiki: “‘Rock and Roll Love Letter’ is the second single from American Tim Moore’s second album, Behind the Eyes, written by Moore. Moore’s original version when released as a promotional single in 1975 did not chart. But, ‘Rock and Roll Love Letter’ was later covered in 1976 by the band Bay City Rollers, and that version became a Top 40 hit.”

Now That We Found Love

First recorded by The O’Jays (1973).
Hit versions by Third World (US #47/#9 R&B/UK #10 1977), Heavy D & the Boyz (US #11/R&B #5/UK #2/AUS #6/NETH #2/NOR #10 1991).

From the wiki: “‘Now That We Found Love’ (also known as ‘Now That We’ve Found Love’) was written by Kenneth Gamble and Leon Huff (‘If You Don’t Know Me By Now’, ‘Me and Mrs. Jones’, ‘Love Train’), and was first recorded by The O’Jays in 1973 for their album Ship Ahoy.

“Subsequent cover versions have included a 1977 reggae-flavored dance hit by Third World, and a worldwide breakthrough rap hit in 1991 for Heavy D.”

Squeeze Box

First recorded (as a demo) by Pete Townshend (1974).
Hit version by The Who (US #16 1975 |UK #10/CAN #1/AUS #1 1976).

From the wiki: “‘Squeeze Box’ was written by Pete Townshend, and was originally intended for a Who television special planned in 1974. The lyrics are couched in sexual double entendrés. In the planned performance of the song, the members of the band were to be surrounded by one-hundred semi-naked women playing ‘squeezeboxes’ – a colloquial expression for accordions and concertinas – as the song was played.

“Townshend first recorded demo of the song featured a farfisa arrangement, as well as with bluegrass banjos. When the anticipated TV special did not materialize, The Who recorded ‘Squeeze Box’ and the song was released as the first single from The Who by Numbers in 1975 in the US and 1976 in the UK. ‘Squeezebox’ became an international hit, becoming the band’s first-ever Top-10 hit in Britain since 1972.

Take Me to the River

First recorded by Al Green (1974).
Hit versions by Syl Johnson (US #48/R&B #7 1975), Talking Heads (US #26 1979).
Also recorded by Foghat (1976), Levon Helm (1978), Brian Ferry (1978).

From the wiki: “‘Take Me to the River’ was written by singer Al Green and guitarist Mabon ‘Teenie’ Hodges, and first recorded by Green in 1974 for the album Al Green Explores Your Mind. Although not released from the album as a promotional single, Green’s original recording was ranked #117 on Rolling Stone magazine’s list of the 500 Greatest Songs of All Time.

“According to producer Willie Mitchell, Green and Mabon Hodges wrote the song while staying in a rented house at Lake Hamilton, Arkansas, for three days in 1973 in order to come up with new material. Green dedicated his performance on the record to ‘…Little Junior Parker, a cousin of mine, he’s gone on but we’d like to kinda carry on in his name.’ According to one critic, ‘Green’s song squares the singer’s early religious convictions with more earthly interests,’ but when Green became a pastor of the Full Gospel Tabernacle Church in 1976, the singer dropped the song from his repertoire.

4th of July, Asbury Park (Sandy)

Written and first recorded by Bruce Springsteen & The E Street Band (1973).
Hit version (as “Sandy”) by The Hollies (US #85/GER #22/NZ #12/NETH #9 1975).

From the wiki: “‘4th of July, Asbury Park (Sandy)’, often known just as ‘Sandy’, was written in 1973 by Bruce Springsteen and first appeared as the second song on the album The Wild, The Innocent and The E Street Shuffle. Van Morrison’s influence can be heard in Springsteen’s songwriting about his hometown, closely paralleling Morrison’s romanticism of his hometown, Belfast, Ireland.

“No singles were released from The Wild, The Innocent and The E Street Shuffle … except in Germany – the first-ever Springsteen 7-inch issued outside the United States – where Springsteen’s ‘Sandy’ met with no apparent chart success.

“However, ‘Sandy’ became the first song written by Springsteen to chart, anywhere, when The Hollies’ cover version, released in April 1975, hit #85 in the US, and charted higher in a few other international markets (e.g. Top-10 in the Netherlands). While not a big hit unto itself, The Hollies’ use of “Sandy” presaged other artists mining the early Springsteen songbook for material, a notion that would soon be exploited to much greater commercial success by Manfred Mann and others.

No No Song

Written and first recorded by Hoyt Axton (1974).
Hit version by Ringo Starr (US #3/CAN #1 1975).

From the wiki: “Ringo Starr’s cover of Hoyt Axton’s and David Jackson’s ‘No No Song’ was included on Starr’s 1974 album Goodnight Vienna. The song was released as a single in the US in January 1975, becoming a #1 hit in Canada and a #3 hit in the US. Harry Nilsson provided backing vocals.”

Willin’

First recorded by Johnny Darrell (1970).
Also recorded by The Byrds (1970, released 2000), Seatrain (1970).
Album hit versions by Little Feat (1971 |1972 |1978), Linda Ronstadt (1974).

From the wiki: ‘Willin” was written by Lowell George, of Little Feat, but first recorded in the spring of 1970 by Johnny Darrell for his album California Stop-Over. The song is about a truck driver in the American southwest who makes some extra cash smuggling cigarettes and transporting illegals across the border from Mexico. George’s opening line, in which the narrator describes himself as being ‘warped by the rain,’ originated in a conversation between George and drummer Richie Hayward. Hayward had used it to describe a rocking chair. Prior to forming Little Feat, George was a member of Frank Zappa’s Mothers of Invention. It is probable that this song was a reason for his departure, due to its drug references in the chorus. It is known that his leaving had something to do with his drug use, which Zappa heavily frowned upon.

Harry Hippie

Written and first recorded by Jim Ford (1970).
Hit version by Bobby Womack (R&B #8 1973).

From the wiki: “‘Harry Hippie’ was written by Jim Ford for a self-titled album scheduled to be issued by Capitol in the fall of 1970. But, Ford had a falling out with the label and the album was shelved. ‘Harry Hippie’ was written by Ford in tribute to Bobby Womack’s laid-back brother, bass guitarist Harry Womack. ‘Harry Hippie’ would, after Womack recorded it in 1973, become a Top-10 R&B hit for Womack.

Happiness is Just Around the Bend

First recorded by Brian Auger’s Oblivion Express (1973).
Hit version by The Main Ingredient (US #35/R&B #7/CAN #51 1974).
Also recorded by Cuba Gooding, Sr. (1983), Altern-8 (1991).

From the wiki: “‘Happiness is Just Around the Bend’ was written by Brian Auger and first recorded in 1973 by Brian Auger’s Oblivion Express. A cover recording in 1974 by The Main Ingredient charted in the US Top 40, peaking at #35, and the R&B Top 10, peaking at #7.

Video Killed the Radio Star

First recorded by Bruce Wooley & the Camera Club (1978).
Hit version by The Buggles (US #40/UK #1/CAN #6/AUS #1/IRE #1/ITA #1/SWE #1/JPN #1 1980).

From the wiki: “‘Video Killed the Radio Star’ was written by Trevor Horn, Geoff Downes and Bruce Woolley in 1978, and was first recorded by Bruce Woolley & the Camera Club (with Thomas Dolby on keyboards) for the album English Garden.

“Horn, Downes and Woolley wrote ‘Video Killed the Radio Star’ in an hour of one afternoon in 1978, six months before it was first recorded. Horn has said that the short story ‘The Sound-Sweep’, in which the title character – a mute boy vacuuming up stray music in a world without it – comes upon an opera singer hiding in a sewer, provided inspiration for ‘Video’, and he felt ‘an era was about to pass.’ Horn claimed that the German synth-group Kraftwerk was another influence of the song: ‘…It was like you could see the future when you heard Kraftwerk, something new is coming, something different. Different rhythm section, different mentality.’

Mamas, Don’t Let Your Babies Grow Up to Be Cowboys

Co-written and first recorded by Ed Bruce (C&W #15 1975).
Other hit version by Waylon Jennings & Willie Nelson (US #42/C&W #1/CAN #1 1978).

From the wiki: “‘Mamas Don’t Let Your Babies Grow Up to Be Cowboys’ was first recorded in 1975 by Ed Bruce, written by him and his wife, Patsy Bruce. Bruce’s rendition of the song peaked at #15 on the Hot Country Singles charts in 1975.

“Waylon Jennings and Willie Nelson covered the song on their 1978 duet album Waylon & Willie. Unbeknownst to Bruce, Jennings had recorded it himself in 1977. Unfortunately, Waylon was unhappy with his recording. So he brought it to a session with Nelson, who added vocals to the existing recording. Jennings recalls, ‘Me and Willie were talking about recording again, and I said, ‘Willie, I cut this thing, but I ain’t sure about it.’ I said, ‘It don’t sound right, but it might be a great duet.’ {Even though my] whole record was finished, I just took [out] part of my voice and put his on.’

“The Jennings/Nelson cover recording peaked at #1 on the Hot Country Singles chart in March 1978, spending four weeks topping the chart while also crossing-over to the Billboard Hot 100. In 1979, the song won the Grammy Award for Best Country Performance by a Duo or Group with Vocal. Members of the Western Writers of America have also chosen ‘Mamas Don’t Let Your Babies Grow Up to Be Cowboys’ as one of the Top 100 Western songs of all time.”